Simandharjin Chandraula Stavan - Book Summary

Here is a comprehensive summary in English of the Jain text "Simandharjin Chandraula Stavan" by Jayant Kothari, based on the provided pages:

Book Title: Simandharjin Chandraula Stavan Author: Jayant Kothari (Compiler/Editor) Original Poet: Jayavant Suri (also known as Gunsaubhagya Suri) Publisher: ZZ_Anusandhan Catalog Link: https://jainqq.org/explore/229699/1

Overview:

The "Simandharjin Chandraula Stavan" is a devotional poem composed by Jayavant Suri, a significant poet from the 16th century. This stavan (a type of devotional song or hymn) is dedicated to Lord Simandhar Swami, one of the currently living Tirthankaras who resides in the Mahavideha region. The work explores themes of longing, separation, and intense devotion towards Lord Simandhar Swami.

Poet's Background (Jayavant Suri):

Jayavant Suri, also known as Gunsaubhagya Suri, was a disciple of Upadhyay Vinaymandan of the Vada Tapgachha, Ratnakar branch.
His known works include two "Ras" compositions, 'Shringar Manjari' (composed in 1558 Vikram Samvat, 1501 CE) and 'Rishidatta Ras' (composed in 1587 Vikram Samvat, 1530 CE).
He also facilitated the copying of a manuscript of 'Kavya Prakash' in 1596 Vikram Samvat (1539 CE), indicating his engagement with knowledge and literature.
His literary period is identified as the latter half of the 16th century, possibly extending slightly into the 17th century.
Besides Ras compositions, Jayavant Suri authored various other types of works, including stavan, letters (lekh), dialogues, फाग (Phag - Holi songs), and बारहमासा (Baramasa - songs about the twelve months). He is credited with approximately 80 songs.
His poetry is noted for its diverse emotional expressions and varied stylistic approaches, showcasing his erudition and high poetic skill.

Work's Description (Kritipareechay):

The "Simandharjin Chandraula Stavan" is a composition structured in the "Chandravada" meter, consisting of 27 verses.
The meter follows a specific pattern: the first and third verses are in 'Charanakul' style, while the second and fourth verses are in 'Duhana' style. The fifth to eighth verses revert to the 'Charanakul' style.
A unique feature is the 'chaining' (saankadi) of the fourth and fifth verses through word repetition.
The final verse is not chained to the first verse, which is not a mandatory requirement of the Chandravada meter.
The inclusion of a recurring refrain (dhrupad) adds a special musicality and lyrical quality, making this poetic form distinct.
The work is essentially a plea or prayer addressed to Lord Simandhar Swami.

Comparison with another work by Jayavant Suri: 'Simandhar Swami Lekh'

The "Stavan" shares thematic similarities with Jayavant Suri's other work, 'Simandhar Swami Lekh' (which is a letter).
Both works express intense love and devotion towards Lord Simandhar Swami, the pain of separation, and a deep yearning for reunion.
The expression of feelings of separation, the techniques used, the use of rhetorical devices (alankaras), and wordplay (vaggabhangi) are comparable in both.
However, the "Stavan" offers new perspectives, fresh imagery, and different poetic structures compared to the "Lekh." For example:
- Imagery: While the "Lekh" might have simpler imagery ("looking at that direction, the path looks beautiful"), the "Stavan" expands on this with descriptions like "Blessed is that city, those trees, blessed is that direction, those paths" and introduces the innovative concept of Lord Simandhar Swami as a "market of virtues and deeds" ('gunakriyanak-hato').
- Metaphors: The metaphor of the mind being drawn to the Lord's qualities is presented differently. In the "Lekh," it's "my mind-bee has pierced your lotus of virtues"; in the "Stavan," it's "the heart of the mind-bird, desirous of nectar, is near your cage of virtues."
- Expression of Separation: The "Lekh" focuses more on eagerness and less on the pain of separation. The "Stavan," however, vividly paints a picture of the state of separation, describing restlessness, sleeplessness, the pain of being with ill-wishers, and the body becoming frail like a cage due to constant pining. The mental state reaches a point of despair and a desire to unlearn the lesson of attachment.

Key Themes and Imagery in "Simandharjin Chandraula Stavan":

Lord Simandhar Swami's Residence: The backdrop for the poems is Lord Simandhar Swami's residence in the Mahavideha region, which provides the context for the feelings of separation and longing.
Love for a Distant Beloved: The concept of loving someone who resides far away is frequently mentioned, with familiar examples used in devotional literature.
- In the "Lekh," the question is posed rhetorically: "Where is the sun, and where is the lotus? Where are the clouds, and where is the peacock? If they go far, how can they forget? Observe true love."
- In the "Stavan," the concept is conveyed through condensation and implication ("The peacock, the cuckoo on the earth, the moon and clouds in the sky – they are not separate from those who have love for them").
Unique Imagery and Concepts in the "Stavan":
- Mind vs. Eyes: The poem contrasts the mind's lack of agitation with the eyes' thirst for a glimpse of the Lord ("My mind is not restless, but my eyes are thirsty"). This is explained by the mind being content with the Lord's presence, while the eyes still long for physical sight.
- Internal Communication: The poem introduces the idea that even if physically distant, the mind is connected to Lord Simandhar Swami. "If I send a letter to the cuckoo, who will carry the message? You are here, and I am also here; neither of us is abroad." This is clarified by the idea that the mind is already merged with the Lord, thus a message is understood, and union is achieved.
- Companions in Separation: The poet contrasts their own suffering with contented pigeons flying together, lamenting that destiny has created such a difference.
- Love as an Unbreakable Bond: Love is presented as something that cannot be hidden or suppressed, unlike relationships that might be concealed or phenomena that can be contained (e.g., dawn cannot be hidden, waves cannot be tied with a rope).
- Metaphor of a Screw (Khili): Love is compared to a screw ('khili') that holds two things together. The poet prays that the 'screw' of divine love does not loosen.
- Vegetation as Analogy for Sentience: Drawing from Jain philosophy, the poet compares the mind's abundance of emotions to vegetation, which, according to Jainism, contains countless souls. The mind is a storehouse of feelings, and upon meeting the Lord, it will be emptied and immersed in love.
- Unexpressed Love: The vastness of the Lord's virtues is so immense that they cannot be fully written down, even with ink from the sky and water from the ocean. The poet acknowledges their inadequacy and asks for forgiveness.
- The Nature of Divine Love: The poem distinguishes between worldly relationships (sagpan) and divine love (priti). Sagpan can be hidden, but priti cannot. Worldly relationships can be concealed, but love cannot.
- Desire for Vision and Speech: The longing for both sight ('darshan') and the Lord's words ('vachan') is repeatedly expressed. The thirst for the Lord's speech is highlighted as being more potent than the sweetness of mangoes, and the eyes and ears are described as thirsty for His words.
- The Paradox of Distance: The poems explore how distance does not diminish true affection, using examples and analogies.
- The Role of the Messenger: The poet contemplates who to send as a messenger, addressing a parrot and a cuckoo, highlighting the difficulty of conveying the depth of their emotions.
- Inner Fulfillment: The ultimate fulfillment comes not from worldly desires or earthly possessions but from the meeting with the Lord.
Poetic Devices: The poem employs various rhetorical devices, including metaphors, similes, personification, and contrasts, to effectively convey the emotions of longing and devotion.

Manuscript and Editorial Information:

The text provides details about five manuscripts (labeled क, ख, ग, घ, च) used for the edition, including their location, physical characteristics, and approximate dating. Manuscript 'क' from the Mahavir Jain Vidyalaya, Mumbai (dated 1635 Vikram Samvat, 1578 CE), is considered the oldest and most authoritative, written during the poet's lifetime.
The edition acknowledges minor transcription errors, differences in orthography (e.g., 'kh' represented by 'gh' or 'ṣ'), and variations in punctuation.
The editorial process involved comparing manuscripts, correcting apparent errors, and retaining original phrasing where possible.

Significance:

The "Simandharjin Chandraula Stavan" is a significant piece of Jain literature that offers a profound emotional portrayal of devotion. It showcases Jayavant Suri's skill in expressing deep spiritual longing through evocative language and creative imagery, making it a valuable contribution to devotional poetry. The detailed analysis by Jayant Kothari provides valuable insights into the poem's structure, themes, and historical context.